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In-Store Release Information November 26, 2013 TAFELMUSIK BAROQUE ORCHESTRA Jeanne Lamon, Music Director HOUSE OF DREAMS Programmed and Scripted by: Alison Mackay Stage Director: Marshall Pynkoski Production Designer: Glenn Davidson Booklet: English 1 DVD & 1 CD music soundtrack: full priced Total Time DVD: 1:31:54 Total Time CD: 71:52 Recording Date: June 2013 Picture Format: NTSC 0 Sound Format: DVD: Surround Sound, CD: 24-bit In-Store: November 2013 Product Number: TMK1020DVDCD UPC 8 80513 10205 3 DVD and CD Soundtrack: Tafelmusik Baroque Orchestra presents a magical journey to the meeting places of baroque art and music – visit five European homes where exquisite works by Bach, Handel, Vivaldi and Marais are played against a backdrop of gorgeous paintings by Vermeer, Canaletto and Watteau. Beautifully filmed in Toronto, at the Handel House in London UK and in the gondolas, historic buildings and cafés of Venice, Italy. This is a totally memorized performance by the virtuoso players of Tafelmusik. DVD includes a bonus track interview with Handel House Director Sarah Baldwell. A CD soundtrack is included. Tafelmusik Media label: www.tafelmusik.org/recordings Distributed by: www.naxos.com HOUSE OF DREAMS DVD Chapter 1 Opening Credits 4:27 Chapter 2 The First House: London 11:34 Chapter 3 The Second House: Venice 15:31 Chapter 4 The Third House: Delft 12:54 Chapter 5 The Fourth House: Paris 21.37 Chapter 6 The Fifth House: Leipzig 12:40 Chapter 7 Reprise 8:22 Chapter 8 Closing Credits 2:35 Bonus Track: Interview with Sarah Baldwell, Director of Handel House in London England 2:14 Total duration (DVD): 1:31:54 HOUSE OF DREAMS CD George Frideric Handel 1. Prelude to “As with rosy steps,” from Theodora 1:48 2. Allegro, from Concerto grosso op. 6, no. 5 2:31 3. Vivace, from Concerto grosso op. 3, no. 2 1:50 4. Allegro, from Concerto grosso op. 6, no. 1 2:36 Dances from Alcina: 5.Entrée des songes agréables 2:42 6. Gavotte 1:05 7.Tamburino 1:50 Antonio Vivaldi 8. Largo, from Concerto in D Major for lute RV 93 4:52 9. Allegro, from Concerto in D Minor for 2 oboes RV 535 2:42 10. Allegro, from Concerto in E Minor for bassoon RV 484 3:09 11. Allegro, from Concerto in G Minor for 2 cellos RV 531 3:03 Jan Pieterszoon Sweelinck 12. Engelse Fortuyn 2:38 Henry Purcell 13. Fantasia in 3 parts upon a ground 4:29 14. Third act tune, from The Indian Queen 1:37 15. Symphony, from St. Cecilia Ode 1:16 Marin Marais Suite from Alcyone 16. Tambourins 1:53 17. Marche en rondeau 1:37 18. Ritournelle Acte III 0:52 19. Marche des matelots 0:34 20. Ritournelle Acte III reprise 0:52 21. Tempeste 1:44 22. Ritournelle Acte V 2:16 23. Chaconne 6:37 Johann Sebastian Bach 24. Gigue, from Trio sonata in C Major, BWV 1037 (possibly composed by J.G. Goldberg) 3:33 25. Largo for 2 oboes, bassoon and continuo, after Aria from Cantata 135 “Im Tod ist alles stille” (In death all is still) 3:30 26. Allegro, from Concerto for 2 violins in D Minor, BWV 1043 4:31 Georg Philipp Telemann 27. Ouverture, from Wassermusik 5:31 Total duration (CD): 71:52 .

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November 17, 2017 November 17, 2017 TALES OF TWO CITIES The Leipzig-Damascus Coffee House “powerful” “flawless” — The Globe and Mail — Musical Toronto Tafelmusik’s stunning multimedia concert Tales of Two Cities: The Leipzig-Damascus Coffee House is now available as a CD soundtrack and DVD that was filmed before a live audience at the Aga Khan Museum’s auditorium in Toronto. Inspired by the colourful, opulent world of 18th-century Saxon and Syrian coffee houses, Tales of Two Cities is performed entirely from memory by Tafelmusik Baroque Orchestra, ensemble Trio Arabica — Maryem Tollar, voice and qanun; Demetri Petsalakis, oud; and Naghmeh Farahmand, percussion — with narrator Alon Nashman. Described as an “enterprising concept … [that] blends elements that are entertaining, educational, musically rewarding and visually arresting” (Huffington Post Canada), Tales of Two Cities received rapturous critical acclaim at its May 2016 Toronto premiere and was named Best Concert of 2016 by the Spanish classical music magazine Codalario.com. DVD extras include subtitles in Arabic, a video on the restoration of the Dresden Damascus Room, behind-the-scenes footage from rehearsals, and a nine-camera split screen video of the orchestra performing Bach’s Sinfonia after BWV 248 in a new arrangement by Tafelmusik. TALES OF TWO CITIES The Leipzig-Damascus Coffee House DVD (Total Duration 1:37:15) CHAPTERS LISTING Chapter 1: Opening credits/Overture 5:41 Chapter 2: Coffee travels from the Middle East to Venice and Paris 15:57 Chapter 3: Coffee comes to Leipzig
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Keyboard Arrangements of Music by Jean-Baptiste Lully: Introduction
Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 Introduction, p. i Abbreviations Bonfils 1974 Bonfils, Jean, ed. Livre d’orgue attribué à J.N. Geoffroy, Le Pupitre: no. 53. Paris: Heugel, 1974. Chung 1997 Chung, David. “Keyboard Arrangements and Their Significance for French Harpsichord Music.” 2 vols. PhD diss., University of Cambridge, 1997. Chung 2004 Chung, David, ed. Jean-Baptiste Lully: 27 brani d’opera transcritti per tastiera nei secc. XVII e XVIII. Bologna: UT Orpheus Edizioni, 2004. Gilbert 1975 Gilbert, Kenneth, ed. Jean-Henry d’Anglebert, Pièces de clavecin, Le Pupitre: no. 54. Paris: Heugel, 1975. Gustafson 1979 Gustafson, Bruce. French Harpsichord Music of the 17th Century: A Thematic Catalog of the Sources with Commentary. 3 vols. Ann Arbor: UMI Research Press, 1979. Gustafson 2007 Gustafson, Bruce. Chambonnières: A Thematic Catalogue—The Complete Works of Jacques Champion de Chambonnières (1601/02–72), JSCM Instrumenta 1, 2007, r/2011. (http://sscm- jscm.org/instrumenta_01). Gustafson-Fuller 1990 Gustafson, Bruce and David Fuller. A Catalogue of French Harpsichord Music 1699-1780. Oxford: Clarendon Press, 1990. Harris 2009 Harris, C. David, ed. Jean Henry D’Anglebert: The Collected Works. New York: The Broude Trust, 2009. Howell 1963 Howell, Almonte Charles Jr., ed. Nine Seventeenth-Century Organ Transcriptions from the Operas of Lully. Lexington: University of Kentucky Press, 1963. LWV Schneider, Herbert. Chronologisch-Thematisches Verzeichnis sämtlicher Werke von Jean-Baptiste Lully. Tutzing: Hans Schneider, 1981. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed.
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Thanks Are Due Sainte Colombe – the Soundtrack from “Tous Les Matins De Monde” Has Some Wonderful Examples to Danny, Tommie, Belinda, of Sainte Colombe’S Music
directed by Jennifer Eriksson In 2007, ABC Classic FM initiated the Lute Project ABC Classics. Daniel has performed and recorded and commissioned four Australian composers with “The Marais Project” on several occasions. to write for him. Tommie Andersson appears on more than 35 CDs and lectures in Lute at Jennifer Eriksson completed her initial musical the Sydney Conservatorium of Music. He is a studies at the Sydney Conservatorium of founding member of The Marais Project. Music. She subsequently studied the viola da gamba with Jaap ter Linden at the Rotterdam Daniel Yeadon has a worldwide career as a cellist Conservatorium where she completed post- and viola da gamba player; his repertoire ranges graduate studies in baroque music. She founded from renaissance to contemporary. His regular The Marais Project in 2000 and also directs 3.00pm Sunday 23rd October 2011 | Recital Hall East, Sydney Conservatorium of Music chamber music collaborators in Australia include the Musica Viva in Schools ensemble, Sounds Daniel Yeadon & Jennifer Eriksson – viola da gamba | Tommie Andersson – theorbo Neal Peres Da Costa, Genevieve Lacey, Ironwood, Baroque. Jennifer is widely recognised as one ”The Marin-ettes“ featuring Belinda Montgomery, Narelle Evans & Mara Kiek – voice Romanza, Kammer, Elision and The Collective. of Australia’s best known and most versatile He has appeared as soloist with the Australian viola da gambists having released several CDs Brandenburg Orchestra, tours frequently with the and recorded frequently for the ABC. She has He was travelling without his renowned 17th century French Australian Chamber Orchestra, plays every year also commissioned numerous new Australian Welcome from viol and borrowing instruments maker.
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This Paper Is a Revised Version of My Article 'Towards A
1 This paper is a revised version of my article ‘Towards a more consistent and more historical view of Bach’s Violoncello’, published in Chelys Vol. 32 (2004), p. 49. N.B. at the end of this document readers can download the music examples. Towar ds a different, possibly more historical view of Bach’s Violoncello Was Bach's Violoncello a small CGda Violoncello “played like a violin” (as Bach’s Weimar collegue Johann Gottfried Walther 1708 stated)? Lambert Smit N.B. In this paper 18 th century terms are in italics. Introduction Bias and acquired preferences sometimes cloud people’s views. Modern musicians’ fondness of their own instruments sometimes obstructs a clear view of the history of each single instrument. Some instrumentalists want to defend the territory of their own instrument or to enlarge 1 it. However, in the 18 th century specialization in one instrument, as is the custom today, was unknown. 2 Names of instruments in modern ‘Urtext’ editions can be misleading: in the Neue Bach Ausgabe the due Fiauti d’ Echo in Bach’s score of Concerto 4 .to (BWV 1049) are interpreted as ‘Flauto dolce’ (=recorder, Blockflöte, flûte à bec), whereas a Fiauto d’ Echo was actually a kind of double recorder, consisting of two recorders, one loud and one soft. (see internet and Bachs Orchestermusik by S. Rampe & D. Sackmann, p. 279280). 1 The bassoon specialist Konrad Brandt, however, argues against the habit of introducing a bassoon in every movement in Bach’s church music where oboes are played (the theory ‘wo Oboen, da auch Fagott’) BachJahrbuch '68.
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Marin Marais
Florence Bolton MARIN MARAIS PIÈCES DE VIOLE la rêveuse Florence Bolton, basse de viole - Benjamin Perrot, théorbe & guitare baroque Carsten Lohff, clavecin - Robin Pharo, basse de viole MARIN MARAIS (1656-1728) - Pièces de viole 1 Prélude 2’16 2 Le Jeu du Volant 1,2 1’57 3 Le Petit Badinage 2’05 4 Le Rondeau Villeneuve 1,2 2’50 5 Rondeau Le Troilleur 1,2 4’07 6 Les Barricades Mystérieuses* François Couperin (1668-1733) 3’04 7 Prélude 1 2’47 8 Gavotte Singulière 1,2 1’50 9 Rondeau Le Bijou 1,2 4’15 10 Fête Champêtre 1 4’34 11 La Biscayenne 1,2 2’49 12 Le Badinage 6’19 13 La Paraza 1,2 3’54 14 Le Tact 1 1’50 15 Le Dodo ou l’Amour au Berceau* François Couperin 4’16 16 Rondeau Le Doucereux 1 5’06 17 La Provençale 1,2 3’08 18 La Rêveuse 6’19 * Transcription pour théorbe, Benjamin Perrot TRACKS 2 PLAGES CD LA RÊVEUSE Florence Bolton, basse de viole Benjamin Perrot, théorbe & guitare baroque (+ basse de viole « tact » dans Le Tact) Carsten Lohff, clavecin (1) Robin Pharo, basse de viole (2) Instruments Florence Bolton Basse de viole 7 cordes François Bodart 2010 d’après Barak Norman Archets Fausto Cangelosi – Craig Ryder Benjamin Perrot Théorbe Maurice Ottiger 2005 d’après Matteo Sellas Guitare baroque Stephen Murphy 2002 d’après Stradivari Carsten Lohff Clavecin Michel de Mayer 1998, d’après Pierre Donzelague 1716 Robin Pharo Basse de viole 7 cordes Judith Kraft 2012 d’après Guillaume Barbey Archet Pierre Patigny Enregistrement du 6 au 9 septembre 2016 au Château de Chambord, et le 13 juin 2017 à l’église de Franc-Waret (Belgique) (plages 6 et 15) / Prise de son et direction artistique : Hugues Deschaux / Montage numérique : Hugues Deschaux, Florence Bolton & Benjamin Perrot / Accord du clavecin : Thomas de Grunne / Administration et suivi de production La Rêveuse : Marion Paquier / Photos noir & blanc : Robin Davies / Conception et suivi artistique : René Martin, François-René Martin et Christian Meyrignac / Design : Jean-Michel Bouchet – LM Portfolio / Réalisation digipack : saga illico / Fabriqué par Sony DADC Austria / & © 2017 MIRARE, MIR386.
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Download Booklet
95779 The viola da gamba (or ‘leg-viol’) is so named because it is held between the legs. All the members of the 17th century, that the capabilities of the gamba as a solo instrument were most fully realised, of the viol family were similarly played in an upright position. The viola da gamba seems to especially in the works of Marin Marais and Antoine Forqueray (see below, CD7–13). have descended more directly from the medieval fiddle (known during the Middle Ages and early Born in London, John Dowland (1563–1626) became one of the most celebrated English Renaissance by such names as ffythele, ffidil, fiele or fithele) than the violin, but it is clear that composers of his day. His Lachrimæ, or Seaven Teares figured in Seaven Passionate Pavans were both violin and gamba families became established at about the same time, in the 16th century. published in London in 1604 when he was employed as lutenist at the court of the Danish King The differences in the gamba’s proportions, when compared with the violin family, may be Christian IV. These seven pavans are variations on a theme, the Lachrimae pavan, derived from summarised thus – a shorter sound box in relation to the length of the strings, wider ribs and a flat Dowland’s song Flow my tears. In his dedication Dowland observes that ‘The teares which Musicke back. Other ways in which the gamba differs from the violin include its six strings (later a seventh weeps [are not] always in sorrow but sometime in joy and gladnesse’.
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GEORG PHILIPP TELEMANN Musikalische Werke (Auswahlausgabe)
Musikwissenschaftliche Editionen – Publikationsverzeichnis – Stand: Mai 2019 GEORG PHILIPP TELEMANN Musikalische Werke (Auswahlausgabe) (Finanzierung durch das Akademienprogramm bis 31.12.2010) Herausgeber: Akademie der Wissenschaften und der Literatur, Mainz, in Verbindung mit dem Zentrum für Telemann-Pflege und -Forschung Magdeburg. Anschrift: Telemann-Auswahlausgabe, Schönebecker Str. 129, 39104 Magdeburg Verlag: Bärenreiter-Verlag, Kassel Umfang der Ausgabe: 50 Bände mit Kritischen Berichten und 3 Supplementbände. Band I: Zwölf methodische Sonaten. 1–6 für Violine oder Querflöte und Basso continuo, 7–12 für Querflöte oder Violine und Basso continuo. Hamburg 1728 und 1732. Herausgegeben von Max Seiffert. 1955, 71983. VIII, 126 S. Band II: Der Harmonische Gottesdienst. Ein Jahrgang von 72 Solokantaten für 1 Singstimme, 1 Instrument und Basso continuo. Hamburg 1725/1726. Teil I [Nr. 1–15]: Neujahr bis Reminiscere. Herausgegeben von Gustav Fock. 1953, ³1981. XI, 132 S. Band III: Der Harmonische Gottesdienst. Ein Jahrgang von 72 Solokantaten für 1 Singstimme, 1 Instrument und Basso continuo. Hamburg 1725/1726. Teil II [Nr. 16–31]: Oculi bis 1. Pfingsttag. Herausgegeben von Gustav Fock. 1953, ³1982. IV, 140 S. Band IV: Der Harmonische Gottesdienst. Ein Jahrgang von 72 Solokantaten für 1 Singstimme, 1 Instrument und Basso continuo. Hamburg 1725/1726. Teil III [Nr. 32–50]: 2. Pfingsttag bis 16. Sonntag nach Trinitatis. Herausgegeben von Gustav Fock. 1970, 41998. VII, 152 S. Band V: Der Harmonische Gottesdienst. Ein Jahrgang von 72 Solokantaten für 1 Singstimme, 1 Instrument und Basso continuo. Hamburg 1725/1726. Teil IV [Nr. 51–72]: 17. Sonntag nach Trinitatis bis Sonntag nach Weihnachten. Herausgegeben von Gustav Fock. 1957. VII, 163 S. Band VI: Kammermusik ohne Generalbaß [I].
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Classics & Jazz PAID Permit # 79 PRSRT STD PRSRT Late Fall 2020 U.S. Postage Aberdeen, SD Jazz New Naxos Bundle Deal Releases 3 for $30 see page 54 beginning on page 10 more @ more @ HBDirect.com HBDirect.com see page 22 OJC Bundle Deal P.O. Box 309 P.O. 05677 VT Center, Waterbury Address Service Requested 3 for $30 see page 48 Classical 50% Off beginning on page 24 more @ HBDirect.com 1/800/222-6872 www.hbdirect.com Classical New Releases beginning on page 28 more @ HBDirect.com Love Music. HBDirect Classics & Jazz We are pleased to present the HBDirect Late Fall 2020 Late Fall 2020 Classics & Jazz Catalog, with a broad range of offers we’re sure will be of great interest to our customers. Catalog Index Villa-Lobos: The Symphonies / Karabtchevsky; São Paulo SO [6 CDs] In jazz, we’re excited to present another major label as a Heitor Villa-Lobos has been described as ‘the single most significant 4 Classical - Boxed Sets 3 for $30 bundle deal – Original Jazz Classics – as well as a creative figure in 20th-century Brazilian art music.’ The eleven sale on Double Moon, recent Enlightenment boxed sets and 10 Classical - Naxos 3 for $30 Deal! symphonies - the enigmatic Symphony No. 5 has never been found new jazz releases. On the classical side, HBDirect is proud to 18 Classical - DVD & Blu-ray and may not ever have been written - range from the two earliest, be the industry leader when it comes to the comprehensive conceived in a broadly Central European tradition, to the final symphony 20 Classical - Recommendations presentation of new classical releases.
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PROGRAM NOTES: Marin Marais
PROGRAM NOTES: Marin Marais (1656-1728) established himself as a virtuoso of the viola da gamba at a young age, earning the opportunity to study gamba with Monsieur de Saint Colombe and composition with Jean-Baptiste Lully. Marais became one of the most prolific composers of bass viola da gamba repertoire. Marais approached composition differently than his predecessors. Rather than leaving ornamentation to the discretion of the performer, Marais created his own system of symbols depicting specific graces. His desire to have complete control over every gesture stemmed from his studies with Lully, a composer who was also notorious for adding precise ornamentation instructions. La Gamme en forme d’un petit Opera (1723) is one of several trio sonatas Marais composed for violin, viola da gamba, and harpsichord. Each instrumental part in this piece is equally challenging, creating a contrast of virtuosic lines throughout each voice. The title “a scale in the form of a petit opera” suggests that Marais’ goal through this composition was to depict the same drama and variation as a short opera. Beginning in the key of C Major, Marais travels through each step of the scale to create these various operatic scenes. Unlike Marais’ earlier works, this piece has very few instructions on where to ornament. Therefore, the biggest challenge as a performer is finding ways to embellish nuances in order to depict the vast amounts of character changes that take place in this enormous work. Because the piece was composed in the last year of his life, Marais probable assumed anyone performing it would have studied his earlier music and would therefore understand the style of ornamentation he demands.
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Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano
Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano A Performance Edition with Commentary D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of the The Ohio State University By Antoine Terrell Clark, M. M. Music Graduate Program The Ohio State University 2009 Document Committee: Approved By James Pyne, Co-Advisor ______________________ Co-Advisor Lois Rosow, Co-Advisor ______________________ Paul Robinson Co-Advisor Copyright by Antoine Terrell Clark 2009 Abstract Late Baroque works for string instruments are presented in performing editions for clarinet and piano: Giuseppe Tartini, Sonata in G Minor for Violin, and Violoncello or Harpsichord, op.1, no. 10, “Didone abbandonata”; Georg Philipp Telemann, Sonata in G Minor for Violin and Harpsichord, Twv 41:g1, and Sonata in D Major for Solo Viola da Gamba, Twv 40:1; Marin Marais, Les Folies d’ Espagne from Pièces de viole , Book 2; and Johann Sebastian Bach, Violoncello Suite No.1, BWV 1007. Understanding the capabilities of the string instruments is essential for sensitively translating the music to a clarinet idiom. Transcription issues confronted in creating this edition include matters of performance practice, range, notational inconsistencies in the sources, and instrumental idiom. ii Acknowledgements Special thanks is given to the following people for their assistance with my document: my doctoral committee members, Professors James Pyne, whose excellent clarinet instruction and knowledge enhanced my performance and interpretation of these works; Lois Rosow, whose patience, knowledge, and editorial wonders guided me in the creation of this document; and Paul Robinson and Robert Sorton, for helpful conversations about baroque music; Professor Kia-Hui Tan, for providing insight into baroque violin performance practice; David F.
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Meet Our New Officers and Board Members
Volume 24, No. 6 June 2010 Meet Our New Officers and Board Members The Pacifica Chapter Board happily announces the election of three new officers, the re-election of its Vice- President, and the appointment of two new Members at Large. The new Board officers and members will serve two-year terms beginning June 1. Dalton Cantey will be our new President. We could say he has been re-elected, since he was president of the chapter in 1994, but a few years have intervened. Dalton also serves as the coordinator of playday groups, driving up from Santa Cruz every month to combine people with music. Ricardo Hofer has been re-elected as Vice President, for his third term, proving himself to be a tireless leader on behalf of the chapter. Our new Secretary is Carolyn Butler, who recently joined the Ricardo Hofer chapter. And our new Treasurer is Alice Benedict, who Vice-President has been a playing member for 10 years but is new to the Board. The two new Members at Large are Ellen Fisher and Betsy St. Aubin. ~ Mary Elliott and Lyle York Carolyn Butler Secretary Dalton Cantey Alice Benedict President Treasurer Ellen Fisher Betsy St. Aubin Board Member at Large Board Member at Large Membership Address Update Donating to VdGS-Pacifica Pj Savage The Pacifica Chapter is an affiliate of the San Francisco 20 Glengreen St. Early Music Society (SFEMS), and along with other Santa Rosa CA 95409 privileges this affiliation confers, we can receive tax- (707) 843-7266 deductible donations. These include not only cash but [email protected].
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